Theory/Theatre: An Introduction

Fortier, Mark

doi:10.4324/9780203141052

Cited by 83 publications

(8 citation statements)

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“…They live in the shadow of men from their maiden homes to their matrimonial homes; hence they are regarded as second class citizens. Generally speaking, feminist movements locate the oppression and subordination of African women which is seen to be historically common and widespread in the patriarchal domination of women by men according to Fortier (2002).…”

Section: Patriarchal Societies and Gender-based Violencementioning

confidence: 99%

Gender-Based Violence in Ama Atta Aidoo’s No Sweetness Here

Kombate¹,

Moro²

2021

EJLS

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The aim of this study is to offer a critical analysis of No Sweetness Here by Ama Atta Aidoo to identify forms of gender violence which is a violence intentionally perpetrated by husbands or male partners-people known to be intimate associates in the text. The feminist approach has been adopted as our theoretical framework. The text offers interesting representations of the complex ways in which female characters feature as gender abuse victims in situations where gender violence is prevalent. Descriptive analysis is the main method of data analysis in this study. The study revealed that the protagonist, Maami Ama suffered several forms of gender-based violence such as emotional, economic, marital, and social and discrimination in her matrimonial home. The author portrayed her as struggling against gender–based violence from her husband, her mother- in-law and sister-in-laws. Article visualizations:<img src="/-counters-/edu_01/0998/a.php" alt="Hit counter" />

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Section: Patriarchal Societies and Gender-based Violencementioning

confidence: 99%

Gender-Based Violence in Ama Atta Aidoo’s No Sweetness Here

Kombate¹,

Moro²

2021

EJLS

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“…The bourgeois theatre isolates itself from mass culture by marking itself as a current archaic. It resists postmodern discourses and trends that influence other arts and sciences (Sevänen, 2001) and the cultural struggle over images and values that shape and/or mediate our perceptions of reality (Fortier, 2002). From the artistic standpoint, some claim that its conservative image lies in its ‘back-to-the-past’ predisposition, a quality developed in the theatre research literature (Birringer, 1991; Rayner, 2006; Blau, 1990).…”

Section: ‘Ghosting’ In the Theatre And The Institutional Habitusmentioning

confidence: 99%

Ghosts and habitus: The lasting hegemony in Israeli theatre

Gamliel

2016

Ethnography

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The article asks why the Israeli theatre’s ‘voicing hegemony’ practices endure despite a critical public debate that favors cultural pluralism. Ethnographies at two central repertory theatres elicit the meanings of the theatre’s ‘back-to-the past’ institutional habitus, as revealed in observations and in-depth interviews with actors, and disclose artistic dispositions that bolster veteran actors’ stature in the theatre and Israeli art generally. Analysis of the findings links professional capital with the twilight of an artist’s theatrical career. One conclusion connects the theatrical habitus with justification of Israel’s Zionist ideology. Theoretically, the article illuminates the historical component of the Bourdieuian concept of habitus. The duplication of this component in the back-to-the-past habitus inheres to mythification processes and makes the theatrical habitus relatively resilient to social changes.

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“…For example, in Theory/Theatre: an Introduction Mark Fortier notes that 'upstage is mainly a place for authoritative pronouncements' whereas 'the lip of the stage is a place for characters to become informal and intimate with the lower-class audience'. 10 In Shakespeare's Theatre Peter Thomson remarks that:…”

Section: Weimann's View Of Locus and Plateamentioning

confidence: 99%

Performance Practice and Theatrical Privilege: Rethinking Weimann’s Concepts of Locus and Platea

Lin¹

2006

New Theatre Quarterly

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In this article, Erika T. Lin explores theatrical performance as a material medium by considering which elements might have been privileged in the dramaturgy of Shakespeare and his contemporaries. After considering the strengths and weaknesses of Robert Weimann’s influential concepts of locus and platea, she offers an alternative model for understanding the authority of performance in early modern England, in which stage geography and actor–audience interactivity, two key components of Weimann’s formulation, are less important than the interplay between representation and presentation. Through an analysis of specific scenes from a number of Shakespeare’s plays, she argues that the moments most privileged in the early modern playhouse were those that foregrounded the semiotic system through which actions presented onstage came to signify within the represented fiction. Erika T. Lin is an Assistant Professor in the Department of English at the University of Louisville. She is currently writing a book entitled Shakespeare and the Materiality of Performance, and is also beginning work on a new project which examines seasonal festivities, folk drama, and professional theatre in early modern England.

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Theory/Theatre: An Introduction

Cited by 83 publications

References 0 publications

Gender-Based Violence in Ama Atta Aidoo’s No Sweetness Here

Gender-Based Violence in Ama Atta Aidoo’s No Sweetness Here

Ghosts and habitus: The lasting hegemony in Israeli theatre

Performance Practice and Theatrical Privilege: Rethinking Weimann’s Concepts of Locus and Platea

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